In the time before ‘indie-rock’ there was Camper Van Beethoven, an irreverent, experimental group formed by singer-guitarist David Lowery, whose eclectic escapades across the genres of folk, psych, and punk rock helped give shape and prominence to the idea of alternative, independent modes of music. Over the course of its life the band experienced a sour break-up, saw its individual members go on to greater commercial success, and eventually got its full-fledged, happily-ever-after reunion. Now, nine albums and thirty years later, the band gives us La Costa Perdida, which is Spanish for “The Lost Coast.” Fans of the veteran group are not likely to find this album as entertaining or as unorthodox as the band’s older works, and newcomers who stumble across it likely won’t find anything too unusual or innovative to catch their ears. But there is a lot to be appreciated about this album’s music.
Listening to the opener, the beautifully sentimental guitar-ballad, “Come Down the Coast,” one might be momentarily deceived on what sort of music is to follow. With naturalistic imagery, gentle vocal harmonies, and a repeated, wistful refrain speaking of middle-aged solitude and loneliness, the song seems to introduce a vibe of campfire folk to warm the soul. But those familiar with the band won’t be fooled — they know the sardonic, impertinent psych-rock is on its way. Sure enough “Too High For the Love-In” tosses out guitar funk and strange backing vocals while spending its second half in a strange psychedelic stupor; however, it retains its campfire flavor, resulting in a commendable conflation of style which remains present for the rest of the album.
Much of the music is said to have been inspired by the band’s Northern California locale, but also certainly there seem points when the influence is more herbal than geographical. “You Got to Roll,” with a solitary, stalwart drum beat, twangy pangs of forlorn guitar, and serpentine maracas, starts out like a western soundtrack—then turns upon a not-so-subtle marijuana reference to burst into a funky rock groove while an impassioned voice cries “too high too high!” Such is to be expected from this band of course, but here and elsewhere throughout the album such references feel slightly more dark than irreverent, as though the impact of age has tampered even with once youthful joys.
The dark streak is clear and upfront in “Someday Our Love Will Sell Us Out,” a beautifully sung, cynical rumination on the falsities of existence. “Peaches in the Summertime” switches to an upbeat, happier fiddle-fest, while “Northern California Girls” dips into displaced loneliness. “La Coast Perdida” tells the fun but somewhat melancholy story of a man on the run for murder. “A Love For All Time” closes the album with heartfelt melodies, shoreside ambiances and sweetly distant ambiances. It is an ending that reaches hopefully for serenity, and if any band deserves it, it’s definitely this wise and seasoned group.
